A framing conundrum
With my new direction in painting from imagination in oils on canvas, I have had to consider how to frame/finish off the edges. In early discussions with an art mentor, the idea was discussed that I paint the edges in a red, with a simple clean black tray frame to compliment the green in my pictures, and as I often start with a light wash of red on the canvas. Whilst this was a good idea, it became apparent over time that something more substantial would be needed that would help make the paintings look complete and more special, so I embarked on a little research to help me decide on what type of section and finish to use, with the option of using my interior architectural design background to produce a bespoke profile.
Traditionally oils have had ostentatious, heavy, elaborately carved, and gilded frames, as the market used to be for grand classical houses for the wealthy, which would not now work with the more humble and modern buildings of today. Also, heavy gilded frames can be a nightmare for curators hanging pictures together in an exhibition; potentially dominating all other artwork. Curators normally prefer something more neutral and less shouty.
The problem with the conventional way of framing paintings is that the frame rebate overlaps the picture edges, covering at least 8 - 9 mm (3/8”) all around and therefore cropping the painting, which I did not want at all, as I had started my imagination painting journey with exposed edges in mind. So, a shadow gap (known as a flash gap in the design world) would be required to keep the frame away from the pictures.
When visiting Farley Farmhouse in the Summer, I noticed and liked the simple chamfer mould frames with small white fillets on Sir Roland Penrose’s paintings. The frames were in black with gold or silver chamfers, which set them forward and made them look less heavy, although probably a little dated now. I loved the bold simplicity of them, and they really worked with these surreal pictures. The small white fillets helped to separate the frame from the paintings, which is a detail that I admired but they were not tray frames (please see sketch on sheet 1 below).
As an alternative to the simple chamfer section, I noticed on a couple of pictures by Svetlana Cameron at an exhibition in London that she used the simple traditional cavetto mould (often incorrectly referred to as scotia or cove section), which was softer in appearance. The frames were not heavy but in a nice grey with the cavetto section in a mottled metallic effect. I liked this a lot because it looked softer, more contemporary, and not heavy. However, I did not feel that the grey would work with the colour pallet of my paintings (please see sketch on sheet 1 below).
When I visited an exhibition in Kent in August with a friend, I noticed some quite wide grey moulded tray frames on oil paintings that had large areas of dark/black backgrounds. Whilst very suitable for them, I felt that they would be far too heavy in appearance for my work, and they confirmed that the colour would not work on my paintings (please see photograph below).
Whilst visiting the Bloomsbury group exhibition at the Philip Mould Gallery in London recently, I noticed a couple of moulded tray frames on Duncan Grant’s paintings that I really liked, which inspired my thinking for my own frames. Although they were in an antique gold finish, they had a light grey painted edge in the shadow gap which was highly affective and as the coved section was much more like a classical architectural scotia section (scooping in) the frame projection was kept down (please see sketch on sheet 1 above).
With the inspiration of the Duncan Grant frame, I decided to develop a similar section (although traditional and subtle) with a more neutral “antique’” colour that would work well with my paintings. I know that there are other frames that are likely to be close to the section of my proposal, but the finish and scale will make the difference. To help reduce the impact of the projection of the frame, a groove or a flush bead could be used in the exposed edge (please see sketches on sheet 2 below).
To ensure the size that I have worked out relates with the paintings, I will most likely make a cardboard and paper mock-up next, as the depth will affect the weight of the section because things look different in 3D from a 2D elevation, which is why I often project a view on diagonal.
Watch this space for further framing instalments…